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Musica E Fiaba Riflessioni, Percorsi E Proposte Didattiche Paola Lenzi Musica e fiaba Riflessioni, percorsi e proposte didattiche Edizioni ETS, Pisa 2004 Panoramica sulle fiabe in musica tra Otto e Novecento Aladino (da Aladino e la lampada meravigliosa) fa parte dei racconti de Le mille e una notte e compare per la prima volta in forma scritta nella traduzione francese dell’orientalista Antoine Galland (1646-1715). Attraverso la versione francese di Galland, la fiaba di Aladino è diventata una delle più famose della raccolta ed è entrata nella cultura narrativa orale di quasi tutto il mondo. Lo scrittore danese Adam Gottlob Oehlen Schläger fece di Aladino il protagonista di una delle sue novelle, inserita nella raccolta Poetiske skifter (1805), trasformandolo in un ragazzo cinese. Uno dei motivi centrali della narrazione è quello della lampada meravigliosa che aiuta il protagonista. La storia, divenuta un tema letterario popolare, ha ispirato anche il teatro, l’opera lirica e più tardi il cinema (del 1942 il film Le mille e una notte di John Rawline, del 1990 Superfantagenio con Bud Spencer e del 1992 il lungometraggio animato Disney Aladdin, con mus. di Alan Menken e Howard Hashman, VHS 1995). Aladino e la lampada magica. Fiaba lirica in 3 atti e 11 quadri, mus. Nino Rota (1911- 1979), libr. Vinci Verginelli. 1ª rappr.: Napoli, Teatro San Carlo, 13-I-1968 (dir. Carlo Franci). La vicenda si svolge in Cina e nel Magreb. Aladdin. Suite op. 34 di Carl Nielsen (1865-1931). CD Decca, 2-VIII-2000; CD Ondine (ODE 894), 16-IX-1997 (dir. L. Segerstan). Albero dei violini accesi. Opera da camera per bambini in 2 atti di Paolo Furlani (1964), per 7 voci soliste, un attore, un coro misto, 25 strumenti e un Quartettino formato da 4 violinisti; testo di Giuliano Scabia. L’opera è risultata vincitrice del Primo premio al concorso Wiener Internationaler Kompositionswettbewerb 2000 di Vienna, dir. artistico: Claudio Abbado. Racconta la storia di Giovannino (impersonato da una marionetta mossa a vista da un attore), un ragazzo che lascia la casa del padre e affronta varie prove. Sfugge a due assassini, incontra l’Ippogrifo che lo esorta a scoprire la radice della luce e l’albero che suona. Il viaggio di Giovannino continua: egli incontra un Drago, il Cavaliere delle Spine ed un Eremita che gli donerà l’albero che suona i violini. Il protagonista scoprirà la verità sui segreti della vita dopo altri incontri e dopo aver superato le prove d’astuzia della Guardiana dell’ignoto. Alì Babà (da Alì Babà e i quaranta ladroni ne Le mille e una notte) è stata elaborata probabilmente al Cairo intorno al 1400, ma ricavata da un precedente originale indo-persiano. Attraverso la traduzione di Antoine Galland (1646-1715) si diffuse in Europa fra il XVIII e il XIX sec. anche in lingua inglese, tedesca e italiana. Nella prima parte della storia Alì Babà, povero taglialegna, scopre che in una grotta, che si apre con la formula magica Apriti Sesamo, i ladroni hanno nascosto un tesoro. Dopo varie avventure, riesce a liberarsi dei ladroni con l’aiuto della fedele schiava Morgiana, che ricompenserà alla fine con la libertà e dandola in sposa a suo nipote. Con la formula magica della fiaba è stato creato negli anni Settanta, negli Stati Uniti, un celebre programma TV per bambini, che voleva aprire a tutti le porte per impadronirsi dei tesori dell’alfabetizzazione. Alì Babà, ou Les quarante voleurs (Alì Babà o I quaranta ladroni). Opéra in un prologo e 4 atti; mus. Luigi Cherubini (1760-1842), libr. Eugène Scribe e Mélesville. 1ª rappr.: Parigi, Opéra, 22-VII-1833. 1ª ediz.: Lipsia, Breitkopf & Härtel, s.d. (rid. per voce e pf.; testo francese e tedesco). 1ª rappr. ital.: Milano, Teatro alla Scala, 11-VI-1963 (dir. Nino Sanzogno). CD RCA (60278), 15-IX-1992, (dir. Arturo Toscanini); CD Claves (9513), 26- III-1996 (dir. Lawrence Foster). Alì Babà. Opera comica in quattro atti; mus. Giovanni Bottesini (1821-1889), libr. E. Taddei. 1ª rappr.: Londra, Lyceum Theatre, 18-I-1871. Ali della gru, Le (Tranfjädrarna). Opera da camera in 6 scene; mus. Sven-Erik Bäck (1919), libr. Bertil Frans Harald Malmberg, dal dramma fiabesco Jusuru di D. Kinoschita. 1ª rappr.: Stoccolma, Kungliga Teatern, 19-XI-1958. 1ª ediz.: ivi, Hansen, 1960. Interessante l’organico: fl., fg., cr., 4 timp., 2 bongo, tamb. militare, 4 grancasse, triang., vibr., xil., metall., Glockenspiel, tamburino, guiro, gong, celesta, 3 vle, 2 vlc., ctb., T, S, T, Bar. È la storia di Tsu, abile tessitrice, invidiata da tutti per le sue incredibili stoffe fatte di piume di gru. Si scopre però che è una gru trasformata in donna e, di fronte alla realtà, il marito spaventato fugge. L’opera si chiude con l’immagine di una gru che vola via. Allez-Hop! Racconto mimico per Ms, 8 mimi, balletto e orch. di Luciano Berio (1925- 2003), testo: Italo Calvino; 1ª rappr.: Venezia, Festival della Biennale, 23-IX-1959 (Cathy Berberian, Ms; dir. Nino Sanzogno); 1ª ediz.: Milano, Suvini Zerboni, 1959. Il lavoro venne realizzato in stretta collaborazione tra scrittore e musicista. Una pulce ribelle sfugge al domatore e imperversa tra il pubblico e irrita tutti, dai soldati e i governanti, fino a scatenare una guerra. La pulce viene ritrovata e la gente torna annoiata e apatica; il domatore libera allora le pulci e tutti vengono ripresi da folle agitazione. Amore delle tre melarance, L’. Opera in un prologo e 4 atti op. 33 di Sergej Prokof’ev (1891-1953) su libr. proprio, dalla fiaba omonima di Carlo Gozzi (1761), che a sua volta riprende la versione del Pentamerone di Basile, in cui la fiaba s’intitola I tre cedri. 1ª rappr.: Chicago, Lyric Opera, 30-XII-1921 (dir. S. Prokof’ev). 1ª ediz.: Parigi, Gutheil, 1922 (spart.); Londra, Boosey & Hawkes, 1979 (part.). CD Virgin VCD 7 91084-2, (in francese), Chorus and Orchestra of The Lyon Opera (dir. Kent Nagano). Il Principe, figlio del Re di Coppe, morente per un’indigestione di versi, si salva scoppiando a ridere per uno scivolone fatto dalla fata Morgana. La fata lo maledice: sarà condannato ad innamorarsi di tre melarance e ad affrontare mille pericoli per trovarle. Parte accompagnato da Truffaldino e, con l’aiuto del mago Celio, che parla in prosa ed è nemico di Morgana, libera la bella Ninetta, uscita dalla terza melarancia, e la sposa. Nel 1923 Prokof’ev ricavò dall’opera una Suite sinfonica op. 33 bis. 1ª rappr. ital.: Milano, Teatro alla Scala, 30-XII-1947 (dir. Angelo Questa). Anatroccolo stonato, L’. «Fiaba musicale per pf. e voce recitante in stile new-age» di Remo Vinciguerra (1956) su testo proprio; ediz.: Milano, Curci, 2001, con CD allegato (E. 11387 C.). Animaux modèles, Les (Gli animali modello). Balletto in un atto con prologo, 6 scene ed epilogo; mus. Francis Poulenc (1899-1963), su soggetto tratto dalle Favole (12 libri, 1668- 94) di Jean de La Fontaine. 1ª rappr.: Parigi, Opéra, 8-VIII-1942. CD Decca (2LH 452937), 9-II-1999 (dir. C. Dutoit); CD Classico (239), 8-VI-1999 (dir. J. Wagner); CD EMI Classics, (74753), 13-VIII-2002 (dir. G. Pretre). Tra le favole: II. La cigale et la fourmi; VI. Le deux coqs. Apprenti Sorcier, L’ (L’apprendista stregone). Scherzo sinf. per orch. (ott., 2 fl., 2 ob., 3 cl., 4 fg., 4 cr., 4 tr., cornetta a pistoni, 3 trb., timp., perc., arpa, archi) di Paul Dukas (1865- 1935), liberamente ispirato alla ballata Das Zauberlehring (1797) di Goethe. 1ª esec.: Parigi, Société Nationale, 18-V-1897 (dir. P. Dukas). CD Deutsche Grammophon (419617-2), dir. J. Levine; CD London (421527-2), dir. Ch. Dutoit. Peripezie di un apprendista stregone che, in assenza del maestro, utilizza maldestramente una formula magica per ordinare a una scopa e a un secchio di pulire il pavimento al suo posto. Allo stregone in erba si è ispirato un riuscito episodio del film Fantasia (1940; VHS L’apprendista Stregone e Altre Storie, 1987; VHS Fantasia, 1991) di Walt Disney, che ha reso popolare la musica di Dukas. Ayl. Opera-balletto in un atto, mus. Enrico Correggia (1933), testo di Italo Calvino (Senza colori, dalle Cosmicomiche, 1965). 1ª rappr.: Torino, Piccolo Regio, 19-X-1973 (dir. Gian Luigi Gelmetti). Nel pianeta Terra prima del formarsi dell’atmosfera, senza suoni e senza colori si incontrano Qfwfq e Ayl e si innamorano. Ma il carattere opposto dei due li dividerà per sempre: Qfwfq si entusiasma allo spettacolo dello sconvolgimento legato al formarsi del nuovo mondo, mentre Ayl, amante dell’incolore uniformità, si rifugia nelle viscere della Terra. Baba-Jaga. Quadro sinf. (orch.: 3 fl., 3 ob., 3 fg., 4 cr., 2 tr., 3 trb., tuba, timp., perc., xil., archi) op. 56 di Anatolij Konstantinovič Ljadov (1855-1914). 1ª esec.: San Pietroburgo, 18-III-1904 (dir. Filiks M. Blumenfel’d). Ispirata ad una delle Antiche fiabe russe (1855-63) di Aleksandr Nikolaevič Afanas’ev, rievoca la figura della strega della foresta che si sposta a cavallo di una scopa (già in M. P. Musorgskij nei Quadri di una esposizione – n.9 – : La cabane sur des pattes de poule). Baiser de la fée, Le (Il bacio della fata). Balletto allegorico in un atto e 4 scene, mus. e sogg. di Igor Stravinskij (1882-1971), dalla fiaba La vergine dei ghiacci di Hans Christian Andersen, dedicato alla memoria di P. I. Čajkovskij. 1ª rappr.: Parigi, Opéra, 27-XI-1928. 1ª ediz.: ivi, Édition Russe de Musique, 1928. CD Chandos (8360), 9-X-1992 (dir. Neeme Järvi). Stravinskij ne ha ricavato una Suite sinfonica sotto il titolo di Divertissement, eseguita nel febbraio 1931 e pubblicata a Parigi nel 1938. Barba bianca, La.
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